供石中的道家美學
道家陰陽學說以金、木、水、火、土五行來解釋宇宙萬物的起源和變化。宋代一篇名為《物理論》的專著影響深遠，當中一行寫道：「土精為石，石，氣之核也。」由此可見，古人相信供石蘊藏著能量的秘密，甚至可以延年益壽。
供石，又稱文人石，是詩人或藝術家在文房書齋的良伴、騷人墨客聚會時的焦點、或是漫談風雅時的話題。米芾（1051 年至 1107 年）是一位傑出的中國畫家、詩人和書法家，與眾多藝術家一樣，曾在石上題刻。12 世紀，杜綰撰寫了一部內容詳盡的《雲林石譜》。另外，1101 年至 1126 年在位的宋徽宗亦是一位對奇石著迷的藏家。
Scholar's Rock, M.D Flacks Collection
「石文而醜，一醜字則石之千態萬狀皆從此出。」 –– 蘇軾
道家講求自然，推崇醜中見美，與供石的美學思想如出一轍。清代文人劉熙載說，美不在於雕琢，反而貴乎真實自然：「怪石以醜為美，醜到極處，便是美到極處。」
「這是一種迷人的美學，當中牽涉極少人為干預，（時至今日）仍然是中西方藝術家的靈感來源。古代的皇帝、詩人和畫家，無一不為這股魅力傾倒。」
– 仇國仕，蘇富比亞洲區主席、中國藝術品部國際主管兼主席
儘管身處書齋，文人亦可魂遊太虛，任由想像馳騁，遨遊於更廣闊的世界。石頭是宇宙的微觀縮影，古人藉著凝思案頭供石，體悟出人生本相。 「古時文人賞石，心懷雄偉磅礡的山峰意象，以小見大。」翦淞閣主人黃玄龍 2008 年為「道法自然：翦淞閣重要賞石收藏」專場寫道。換句話說，賞石容許學士打破肉身界限，浮想聯翩，穿梭大千世界，進而悟出人生大道理。
供石並不以工整而著稱，反而為文房帶來混亂之感。宋代詩人和有識之士會聚在供石旁熱烈討論；石頭之「醜」往往成為激發他們創作的靈感泉源，而他們亦會依循著道家的學說，為天然奇石添上人文氣韻。
今時今日，供石仍然為藝術家帶來靈感。中國藝術家劉丹自 1980 年代以來一直將文人賞石的主題入畫，而中國雕塑家展望亦在規模和材料上創新，創作不銹鋼供石公共裝置。在西方，英國青年藝術家達米恩．赫斯特（Damien Hirst）同樣擁有豐富的供石收藏。
梁九圖在 19 世紀中葉出版的著作《談石》中提道：「藏石先貴選石，其石無天然畫意不中選。」也許正是石頭中的「天然畫意」，故今日仍有藝術家好之藏之。據仇國仕觀察：「北京水墨畫家曾小俊大概擁有當今最傑出的收藏。他的收藏令人動容；觀賞後，你會對他了解更深。」
Scholar's Rock 吳湖帆 Wu Hufan Collection.
這是一塊天然形成的灰色太湖石，具有多個懸垂的峰頂及穿孔，通體覆蓋淺米色紋理及內含物。石背面帶有一行已經褪色且難以辨識的題刻。該石置於雙層蘇州風格的紅木座之上。
A GREY TAIHU SCHOLAR’S ROCK
MING DYNASTY (1368-1644) OR EARLIER
LENGTH: 42CM
The grey Taihu limestone rock is naturally formed with several overhanging peaks and perforations, covered overall with light buff-coloured veining an inclusions. The back has a long faded inscription no longer able to read legibly. The rock rests on a double-tiered Suzhou-style hongmu stand.
PROVENANCEWu Hufan Collection
明代 灰太湖石山子「吳湖帆」藏
中國藝術的不朽魅力
我們賞玩文人石，手指劃過其玲瓏峰谷、摸到其粗糙光滑、高低起伏時，正是在與古對話，從對比中領略道家的陰陽之理。
透過觸摸昔日器物，我們親身感受到數個世紀前不同階層的人民的生活與情感；而縱然年代久遠，許多舊物至今仍然可用。2022 年十月，蘇富比刷新明代黃花梨椅的世界拍賣紀錄，引起媒體廣泛報導；汝官窰筆洗和明代雞缸盃亦曾登上新聞頭條、進入大眾的眼簾。中國藝術的魅力源遠流長，收藏具有價值的藝術品令我們得以超越本來的生活，進入另一時空，一睹豐富的歷史脈絡。就如收藏家、學者兼古董商莫士撝（Hugh Moss）所言：「觀者……坐在文房，由小山峰之間縈繞的裊裊燒香引領，超越塵世，在神靈之間漫舞。」由此，我們擺脫肉身枷鎖，神遊超以象外的世界，直視宇宙之深奥玄妙。
Scholar's Rock, the Met Museum.
Dimensions: Overall (with base): H. 24 3/8 in. (61.9 cm); W 16 1/4 in. (41.3 cm); D. 11 1/4 in. (28.6 cm)
供石常見問答
什麼是供石？
供石，又稱「賞石」或「文人石」，是天然形成或經過少許人工加工的石頭，因其形狀、質感、色彩以及與山水或其他自然形式的相似性而備受欣賞。供石常被擺放於中國文人或藝術家的書齋中，作為靜思冥想與激發靈感的對象。
供石與道教有什麼關聯？
供石與道教哲學密切相關，特別體現在陰陽平衡與對自然之美的欣賞。供石的不對稱形態、粗糙質地與自然中的「不完美」，被視為對自然世界及其對立力量平衡的反映。
供石在中國是如何流行起來的？
供石的欣賞歷經數百年演變，並在宋代（960-1279）達到高峰。在此期間，文人與藝術家開始收集並在書齋中展示供石，重視其美學特質，以及它們為詩詞、繪畫與書法創作帶來的靈感。這一習俗在隨後的各個朝代中持續發展，成為中國文人文化的重要組成部分。
供石的價值體現在哪些方面？
理想的供石通常具備以下特徵：
自然性：以最少人工干預為佳。
不對稱與平衡：呈現對比元素間的動態張力，體現道家陰陽和諧。
山水意境：許多供石讓人聯想到微型的山脈、瀑布或其他自然景觀。
質感與色彩：質地獨特、紋理明顯且色彩變化豐富的石頭更受青睞。
穿孔與透空：這些特徵增添了視覺趣味，並營造深遠的空間感。
供石通常如何陳設？
供石一般置於精心製作的木座之上，以襯托其形態並增強美感。它們常被擺放在文人書齋中的顯眼位置，作為靜觀與討論的焦點。
供石如何激發藝術家的創作靈感？
供石數百年來一直是中國藝術家的靈感來源，影響著繪畫、書法、詩歌乃至園林設計。供石的抽象形態與自然之美，啟發人們思考人與自然的關係，激發創造力與想像力。
供石在當代藝術中是否仍具影響力？
是的，供石仍然啟發著當代藝術家，不論是在中國還是國際藝術圈。藝術家如劉丹和展望將供石的美學原則融入現代作品中，而像達米恩·赫斯特這樣的收藏家也彰顯了供石持久的吸引力。
哪裡可以觀賞供石？
供石可見於世界各地的博物館和私人收藏中。著名的收藏機構包括紐約大都會藝術博物館、倫敦大英博物館以及北京故宮博物院等。
關於作者
Nicholas Stephens
Nicholas Stephens has spent most of the last 15 years living and working in Hong Kong, latterly for a leading Hong Kong gallery, specializing in contemporary ink. His articles on the Hong Kong art scene and the growing profile of Asian artists in Europe have been featured in several publications. A graduate in Modern Languages, Nicholas has authored translations of novels and plays by writers including Stefan Zweig and Hugo von Hofmannsthal.
Large rock with pronounced overhang and perforations
Dimensions: H. 19 11/16 in. (50 cm); W. 17 11/16 in. (45 cm); D. 10 1/16 in. (25.5 cm)
Classification: Sculpture
Credit Line: Rosenblum Family Collection, Gift of Anna Rosenblum Palmer, 2011
Accession Number: 2011.575.9a, b
The Taoist Aesthetic in Scholar’s Rocks
The Taoist theory of yin and yang explains the origin and alterations of matter in the universe in terms of the five elements — wood, fire, earth, metal and water. In the Song Dynasty, an influential treatise on physics appeared, titled Wuli Lun. One line reads: “The essence of earth is stone; stone is the kernel of qi.” Consequently, it was believed that scholar’s rocks held the secret to energy and could even extend one’s life span.
Gongshi, or scholar’s rocks, gradually became an accompaniment to the life of the poet or artist in his studio, a focal point of literati gatherings, and the subject of intellectual discourse in its own right. Mi Fu (1051–1107), a prominent Chinese painter, poet, and calligrapher, penned theories on scholar’s rocks, as did many other artists. In the 12th century, Tu Wan authored a comprehensive, detailed catalogue, Yunlin Shipu, in tribute. The Emperor Huizong Mi, who reigned from 1101–1126, was an obsessive collector.
“The stone is patterned and ugly. From this one word “ugly” comes a thousand shapes and ten thousand forms.” – Su Shi
There are fundamental aesthetic links between Taoist teachings and the scholar’s rock. Taoism encourages the revelation of identifying beauty within perceived ugliness. Liu Xizai, a Qing dynasty literati, observed that beauty is to be found, not through polish and artifice, but by reality and in nature: “In the world of scholar's rocks, the ugly is beautiful. Ugliness in the extreme, is beautiful in the extreme.”
“It's a fascinating aesthetic. The human intervention is minimal, and they remain objects of inspiration [to this day] to artists in China and in the West. Emperors, poets and painters of imperial times felt that fascination.”
– NICOLAS CHOW, SOTHEBY’S CHAIRMAN, ASIA AND WORLDWIDE HEAD AND CHAIRMAN OF CHINESE WORKS OF ART
Physically bound by the four walls of his studio, the scholar in his contemplative state would allow his imagination to extend to the wider world. The rock became a symbol of that microcosm of the universe that human understanding sought to reach for. “When an educated man of traditional times appreciated a scholar's rock, he held within his mind an image of mountains peaks, using the miniature to picture the magnificent,” wrote Huang Hsien-Long, Master of Jiansongge in 2008 for the sale of Tao The Jiansongge Collection at Sotheby’s. Thus through contemplating the rock, the scholar metaphorically leaves one place, to embrace the potential exploration of all others.
The scholar’s rock offers the presence of chaos and asymmetry in the studio. In the Song dynasty, poets and intellectuals would gather around a scholar’s rock in animated intellectual discussion. Through the aesthetic that the rock represented, ugliness became a departure point for inspiration; a challenging idea rooted in Taoism.
In our present times, scholar’s rocks remain a great inspiration to artists. Chinese artist Liu Dan has pursued the study of scholar’s rocks in his paintings since the 1980s, while Chinese sculptor Zhan Wang has updated the scholar’s rock concept in scale and material, working with stainless steel for public installation. In the west, YBA artist Damien Hirst maintains his own diverse collection of scholar’s rocks.
In his mid-19th century publication, Tanshi (“Chats on Rocks”) Liang Jiutu stated that “in collecting, it is the choice of rocks that comes first. If the rock does not seem like a painting by the powers of nature, then you shouldn’t choose it.” The rock remains an object of collecting interest to artists today, arguably because of this aesthetic link between painting and stone. As Chow observes, “Perhaps the greatest collection today is by Zeng Xiaojun in Beijing, a wonderful ink painter. Seeing his collection is very moving. When you see his collection, you form an understanding of the person.”
Medium: Black Lingbi limestone; wood stand
Dimensions: Overall (with base): H. 18 3/8 in. (46.7 cm); W. 12 7/8 in. (32.7 cm); D. 6 5/8 in. (16.8 cm)
Credit Line: Gift of Richard Rosenblum Family, 2009
Accession Number: 2009.512.1a, b
The Enduring Allure of Chinese Art
When we examine a scholar’s rock, feeling the miniature peaks and troughs, the rough, the smooth, the voids and the protuberances on our fingers, we are in communion with the literati of the past. Not just that, but in those contrasts, we are feeling the harmony of opposites, the vital tenet of Taoism.
By touching a treasure from the past, we share the feeling that emperors, literati, craftsmen and workers enjoyed in their own way centuries before. Many of these items could still be used for the original function for which they were created. Last October, a world auction record was set at Sotheby’s for the sale of a Huanghuali folding chair from the Ming dynasty, garnering substantial press attention; similarly, a Ru ware brush washer, and a Ming dynasty chicken cup have taken their place in the headlines and in the public imagination. The fascination of Chinese art runs far and deep. By beginning a collection, we are afforded a chance to elevate above our own lives into a rich vein of history, into times and places that lie outside of our experience. In so doing, we rise above the mortal into something approaching the spiritual. In the words of author, dealer and collector Hugh Moss, “The viewer… sits in his studio and is lifted on the drifting incense smoke that curled between the tiny peaks, to transcend the dusty world and to dance beyond the gods.”
Scholar's Rocks FAQ
What are scholar's rocks?
Scholar's rocks, also known as gongshi, are naturally occurring or slightly modified rocks that are aesthetically appreciated for their shape, texture, color, and resemblance to landscapes or other natural forms. They are traditionally displayed in the studios of Chinese scholars and artists as objects of contemplation and inspiration.
What is the connection between scholar's rocks and Taoism?
Scholar's rocks are deeply intertwined with Taoist philosophy, particularly the concepts of yin and yang, and the appreciation of natural beauty, even in what might be perceived as "ugly" or imperfect. The rocks' asymmetrical forms, rough textures, and imperfections are seen as reflections of the natural world and the balance of opposing forces.
How did scholar's rocks become popular in China?
The appreciation of scholar's rocks evolved over centuries, gaining significant prominence during the Song dynasty (960-1279). During this period, scholars and artists began collecting and displaying these rocks in their studios, valuing them for their aesthetic qualities and the inspiration they provided for poetry, painting, and calligraphy. The practice continued through subsequent dynasties, becoming an integral part of Chinese literati culture.
What qualities are prized in a scholar's rock?
The most desirable scholar's rocks exhibit a combination of characteristics, including:
Naturalness: Rocks that have undergone minimal human intervention are favored.
Asymmetry and balance: The rocks often display a dynamic tension between contrasting elements, reflecting the Taoist principle of yin and yang.
Resemblance to landscapes: Many scholar's rocks evoke miniature mountains, waterfalls, or other natural scenes.
Texture and color: Rocks with interesting textures, patterns, and color variations are highly sought after.
Holes and perforations: These features add visual interest and can create a sense of depth and perspective.
How are scholar's rocks displayed?
Scholar's rocks are typically displayed on specially crafted wooden stands that complement their shape and enhance their aesthetic appeal. They are often placed in prominent positions within a scholar's studio, serving as focal points for contemplation and discussion.
How do scholar's rocks inspire artists?
Scholar's rocks have served as a source of inspiration for Chinese artists for centuries, influencing painting, calligraphy, poetry, and even garden design. The rocks' abstract forms and natural beauty encourage viewers to contemplate the relationship between humans and nature, sparking creativity and imagination.
Are scholar's rocks still relevant in contemporary art?
Yes, scholar's rocks continue to inspire contemporary artists both in China and internationally. Artists like Liu Dan and Zhan Wang have incorporated the aesthetic principles of scholar's rocks into their modern works, while collectors like Damien Hirst demonstrate the enduring appeal of these natural objects.
Where can I see scholar's rocks on display?
Scholar's rocks can be found in museums and private collections around the world. Notable institutions with significant holdings include the Metropolitan Museum of Art in New York, the British Museum in London, and the Palace Museum in Beijing.
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